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He drew well, paintedwell, and at times was a superior colorist.
Its position
toward classicism was antagonistic, a rebound, aflying to the other extreme.
He
hashad great success as a teacher, and is, all told, a painter of highrank.
His
late work is inferior in sentiment andlabored in handling.
In treatment it
attempts the realistic, but in spirit it is usuallystilted, cold,
unsympathetic. An ascetic view of life, faith, and the
hereafterprevailed.
About the year 1830 the influence ofromanticism began to
show in a new landscape art. That position fell to his contemporary and
fellow-pupil,Delacroix (1799-1863). Trees and hills andrivers became
supernaturally grand and impressive.
Thehigher imaginative qualities of art
Manet made no great effort atattaining.
In Frenchpainting it came forward in
opposition to the classicism of David. In portraiture he was uncommonlystrong
at times.
In marines Boudin and Montenard should be mentioned. The whole
tendency of academic art in France was againstDelacroix, Rousseau, and Millet.
Its influence was to go on, and to appear inthe work of later men. In treatment
it attempts the realistic, but in spirit it is usuallystilted, cold,
unsympathetic.
He did many landscapes with and without cattle. In
Frenchpainting it came forward in opposition to the classicism of David.
He
purposelyslurred drawing at times, and was opposed to formal composition.
His
color was pale, his drawing delicate, and hislighting misty and uncertain.
It
hadlittle basis in nature, and little in color or feeling to commend it.
During
their lives they were regardedas heretics in art and without the pale of the
Academy.
Liberty of thought and perfect freedom forindividual _expression_ were
all it advocated.
They do not apparently care for subject,detail, or
composition.
It had never been a school in the sense of havingrules and laws of
art.
Hence the use of light shadows andbright colors. Its position toward
classicism was antagonistic, a rebound, aflying to the other extreme. The very
gist of romanticism was passion.
During their lives they were regardedas
heretics in art and without the pale of the Academy. Hiswork is impersonal,
objective fact, showing a brilliant exterior butinwardly devoid of feeling.
In
France Sisley with Monet are the two importantlandscapists.
Hence the use of
light shadows andbright colors.
Dantanand Friant have both produced canvases
showing figures in interiors. He draws well, sometimes uses color well, andis
an excellent painter of textures. He drew well, paintedwell, and at times was a
superior colorist.
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